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The Dr. Henry Armitage Memorial Scholarship Symposium seeks Lovecraftian and other Weird Fiction related research for the NecronomiCon Providence convention in Providence, RI, August 22-25, 2019

The Lovecraft Arts and Sciences Council (the organizer of NecronomiCon Providence) is seeking submissions of academic works that explore all aspects weird fiction and art, from pop-culture to literature, including the writings and life of globally renowned weird fiction writer, H.P. Lovecraft. Topics of value include the influence of history, cultural studies, gender and/or race studies, science fiction and/or horror studies, religion, architecture, science, and popular culture (among others) on the weird fiction genre, as well as the impact that weird and Lovecraftian fiction has had on culture.

Traditionally, the Armitage Symposium has aimed to foster explorations of Lovecraft’s elaborate cosmic mythology, and how this mythology was influenced by, and has come to influence, numerous other fiction writers, philosophers, and artists before and since. However, all submissions that contribute to a greater, critical, and nuanced understanding weird fiction and art (and related science fiction, fantasy, horror, etc.) are very welcome.

For this component of the convention, we are particularly interested in soliciting novel work from academics: emerging, new, and seasoned. Selected talks will be presented together as part of the Armitage Symposium, a mini-conference within the overall convention framework of NecronomiCon Providence, August 22-25, 2019. Presenters should be prepared to deliver a fifteen to twenty-minute oral presentation, and are invited to submit a manuscript for possible inclusion in the peer-reviewed Lovecraftian Proceedings no. 4. For consideration, interested scholars, whether faculty, graduate, undergraduate, or independent, should send a 250-300 word abstract in .doc format to symposium chair Professor Dennis Quinn at by June 3, 2019. Early submissions are encouraged.
For more information on the Armitage Symposium, or the overall convention and the themes to be explored, please visit our website:

NB: In addition to these talks, NecronomiCon Providence will also feature numerous traditional panels and presentations given by many of the top names in Lovecraftian studies and the global weird renaissance.
Northern Lights Film and Media Studies Yearbook 2019

deadline for submissions: February 10, 2019
full name / name of organization: University of the Arts, London
contact email:

This edition of Northern Lights Film and Media Studies Yearbook is titled ‘Horrific bodies: Surveillance, screens and screams.' Editors: Susan Flynn, University of the Arts, London and Antonia Mackay, Oxford Brookes University.

Body horror concerns narratives in which the corporeal uncanny is produced through the destruction or annihilation of the natural human body. The contemporary screen contains countless examples of horrified and terrified bodies; watched, tracked, analysed, transformed and degenerated, these ‘horrific’ bodies speak to the angst of the current social, cultural, political and technological world in which we reside. The practices of surveillance, both diegetic and non-diegetic, offer new versions of modern horror; while the horror genre itself has been generously theorized and analysed, its intersection with practices of surveillance opens up new avenues for discussion and the possibility for radical critique of representational systems. Surveillance, of and within horror narratives, offers a particular nuance to our readings of the genre, and the critique of surveillance itself may help us to excavate how we construct notions of gender, race and power, as well as the psychological terror and fear of surveillance itself. The focus of this special edition of Northern Lights, therefore, is the intersection between the horror genre and practices of surveillance, and this edition seeks to promote emergent approaches to screen analysis.

Notions of surveillance have long captivated the creative imagination and been envisioned at multiple sites, through narratives, images and performances. Whilst surveillance studies as a field of enquiry ostensibly concerns the production of new theoretical and empirical understandings of human behaviour vis-à-vis a burgeoning field of technological development, the project of this issue of Northern Lights is to employ cultural surveillance studies to better understand the human, psychic and bodily affects/effects and manifestations of the practices of surveillance. Operating within the paradigm of cultural studies, we seek to delve into the realm of surveillance as it is portrayed on screen so that we may explore the critical juncture at which surveillance renders bodies ‘horrified’.

The ubiquity of surveillance within horror narratives, one might argue, is perfectly placed to draw attention to cinematic processes, while at the same time, denaturalizing the human body. The editors are particularly interested in transgressive visions of surveillance from within the horror genre that also consider the ways in which the surveillant field emerges from beyond the lens. Areas of exploration may include architecture and horror (haunted houses for instance) as sites of surveillance; the body as a corporeal manifestation of visibility from within the discourse of slasher and gore narratives; the use of omnipotent watching as a dystopian motif in contemporary cinema (and its links to political and cultural change); and the manifestation of surveillant practices in horror that stem from geographical or topographical positions (prisons, schools, suburbia, cities, etc). Recognition of the prevalence of surveillance not only in our past but also in our future requires that we acknowledge the ubiquity of surveillance in our cultural products and psyche and attest to the manipulation of the gaze present in on-screen horror. We seek new and original approaches that move beyond traditional theories of surveillance, and of horror.

Potential topics may include, but are not limited to:

• Radical readings of horror through surveillance

• Feminist horror criticism for the digital age

• The new horror of digital interference

• The corporeal, biotechnology and the digital

• Slasher films and surveillance

• Contemporary psychological terror

• The abject and the corporeal

• Architectural constructions of the ‘horrific’

• The watching of othered bodies from within a transgressive surveillant lens

• Television series and use of the nostalgic as a lens by which to critique the contemporary

• Postcolonial readings of film that speak of the viewing of racial bodies and their ‘use’ and ‘appropriation’ within the horror genre

• Spoof horror and B-movies and their application of surveillant lenses from within the skewed and comedic

• Transitional spaces and the borders and territories of the horrific (motels for instance)

• Movement and the supernatural as a means by which to transgress the lens

Abstracts of 400–500 words, together with a brief biographical note, should be submitted by 10 February 2019.

Please email these directly to

Complete papers of 6500–7000 words are due on 1 July 2019.

Northern Lights: Film & Media Studies Yearbook is published by Intellect. Please refer to the style guide here:

Devils and Daemons: An Interdisciplinary Graduate Conference

deadline for submissions: March 31, 2019
full name / name of organization: The Dalhousie Association of Graduate Students in English (DAGSE)
contact email:

In Plato’s Symposium, the wise woman Diotima reveals to Socrates that “Daimons” (later Latinized to “Daemons”) are the intermediaries between the gods and humans, mediums for divination, prophecy, and other moments of divine possession. “Love” reveals immortal beauty to mortals in the Symposium, while Socrates’ “daimonion” whispers prophetic warnings into his ear in Plato’s Apology. Even happiness had a touch of the divine for the ancient Greeks; their word for happiness was “Eudaimonia.” As monotheism took hold in Europe, however, the Latin “Daemon” became the evil “Demon” of the Christian era, identified with the devils and fiends that meddle with the good work of angels. Thus, contact with these spirits became a sinful act, a change with real material consequences for peoples accused of witchcraft or spell-casting.

In the wake of modernity, a new binary has arisen, one that pits psychological, psychopathological, and neuroscientific explanations against the belief in the supernatural. This binary carries its own troubled legacy: colonialist injustice against those deemed to hold “savage, superstitious” beliefs; the institutionalization of the clinically insane; pharmaceutical companies and the capitalist exploitation of psychotropic drugs. Thus, the belief, or lack thereof, in the existence of “devils and daemons” has real material, biopolitical consequences, and we encourage and invite thoughtful engagement with this theme.

The Dalhousie Association of Graduate Students in English (DAGSE) invites submissions of paper presentations for “Devils and Daemons: An Interdisciplinary Graduate Conference.” We welcome proposals from students at all levels and in all areas of graduate study. We encourage proposals from marginalized voices and prospective presenters are welcome to self-identify in their proposals. This three-day conference will be held August 8th to 10th, 2019 at Dalhousie University in Halifax, Nova Scotia. Childcare will be provided upon request.

We invite proposals for papers (15-20 minutes) on themes and subjects including, but not limited to:

* Representations of devils and demons in art, film, television, literature, comics, pop culture, etc., and across cultures, geographical regions, and time periods

* Mischievous creatures: fairies, poltergeists, satyrs, bogles, ravens, etc.

* Witchcraft and other practices associated with supernatural belief

* Insights into the concerns of a culture or time period as revealed by supernatural beliefs

* The devil as a facet of a comprehensive (religious/philosophical) system or world view

* Changing feelings towards demons: from fear to love, and the impulse to humanize them

* Theoretical approaches (post-colonial, feminist, posthumanist, etc) to demons and their history

* Devil as metaphor for temptation and desire

* The defeat of the “personal demon” as a self help strategy

* Guardian angels and intuition

* Spiritual possession as origin of artistic inspiration (“Sing through me Muse!”)

* Possession and war: battlefield bloodlust; spiritual possession and the brainwashing of child soldiers; ghosts and PTSD; etc.

* Mythological, religious, and neuroscientific explanations for demonic possession

* Spiritual possession and mental illness

Keynote Speakers: TBA

Submissions: Please submit a 250-word abstract plus a 50-word biographical statement that includes your name, current level of graduate study, affiliated university, and email address to Panel submissions are also welcome. Please include the words “Devils and Daemons Conference Abstract” in the subject line.

Deadline: 31 March 2019. Accepted presenters will receive notification in mid-May.

Contact the organizers at if you have questions about the conference. Visit the conference website at

We are delighted to announce that we, along with researchers from York and Kingston College London, have won a collaborative funding bid from WRoCAH and AHRC to host an exciting interdisciplinary conference: Buffy and the Bible.

This two day conference will bring together, for the first time, scholars from a range of interdisciplinary perspectives to investigate the contribution which religion and the Bible makes to the construction of the Buffyverse and its reception.

One of the most widely analysed texts in contemporary popular culture, Buffy the Vampire Slayer (1997-2003) has given rise to new understandings of the relationship between religion and popular culture. As well as investigating these connections, this conference will use Buffy as a case study to interrogate interdisciplinary methodologies and frameworks for studying the relationship between religion and popular culture.

The conference will be held from 4-5 July 2019, with Professor Matthew Pateman as the keynote speaker. It is being co-organised by the Sheffield Institute for Interdisciplinary Biblical Studies (SIIBS) and Sheffield Gothic, of the School of English. The researchers involved are Emma Nagouse, Mary Going, Holly Dan, Kelly Richards D'Arcy-Reed, Naomi Hetherington, Dana Alex and Ash Darrow.

The team are currently inviting papers and posters that explore any aspect of the Buffyverse, including film, television, fan fiction, comics, table-top and digital games, merchandise and spin-offs. Abstracts should be no more than 300 words and should be sent to, along with a short bio. The deadline for submissions is 18 March 2019. Please indicate whether your submission is a paper or a poster presentation.

The conference is open to researchers at any level (including undergraduates, postgraduates, early career researchers and independent scholars) and from any discipline.

Folk Horror in the 21st Century, is a two-day conference to be hosted by Falmouth University (UK) on Thursday September 5 and Friday September 6, 2019. The conference organizers Ruth Heholt (Falmouth University, UK) and Dawn Keetley (Lehigh University, USA) invite proposals on all aspects of folk horror, in all periods, across all regions and in all mediums, exploring the meanings and manifestations of the folk horror renaissance in the 21st century.

Keynote and plenary speakers: Tanya Krzywinska (Falmouth University), Catherine Spooner (Lancaster University) and Bernice Murphy (Trinity College Dublin).

Since at least 2010, critics and bloggers have been working to define folk horror, understand its appeal, and establish its key texts, including what has become the central triumvirate of the folk horror canon of the 1960s and 1970s—Witchfinder General (Michael Reeves, 1968), Blood on Satan’s Claw (Piers Haggard, 1971), and The Wicker Man (Robin Hardy, 1973).

The 1960s and 1970s also saw a rise in folk horror texts in British literature and TV series: Robin Redbreast (1970), BBC’s A Ghost Story for Christmas (1971-78), Penda’s Fen (1974), Children of the Stones (1977), and Alan Garner’s novels The Owl Service (1967) and Red Shift (1973).

Critics have also begun to uncover a rich pre-history for the folk horror of the 1960s and 70s, looking back to the 19th and early 20th century fiction of Nathaniel Hawthorne, Arthur Machen, and M. R. James. But the history of folk horror can be traced still further back, to Beowulf, Sir Gawain and the Green Knight, Shakespeare, and the mystical poetry and witchcraft plays of the seventeenth century.

At the same time, directors in the 21st century have been re-inventing the genre with such new incarnations with films such as The Blair Witch Project (1999), Eden Lake (2008), Wake Wood (2009), Kill List (2011), A Field in England (2013), The Witch (2015), The Hallow (2015), Without Name (2016), Apostle (2018), and Hereditary (2018).

Literature too has seen a renaissance of folk horror novels and texts: Adam Nevill’s The Ritual (2011), Andrew Michael Hurley’s The Loney (2014) and Devil’s Day (2017), Thomas Olde Heuvelt’s Hex (2016), Joyce Carol Oates’ The Corn Maiden (2011) and John Langan’s The Fisherman (2016).

This conference will aim to explore and represent the ‘state of the art’ of folk horror scholarship about all periods and regions, and so we invite submissions that take up any aspect of folk horror in film, TV, literature, art, or music. We are also extremely interested in the idea of Global folk horror from Africa, Asia and South America for example.

These topics could include, but certainly aren’t limited to:

history of folk horror
definitions of folk horror
religion and folk horror
the political trajectories of folk horror (conservative retreat, progressive renewal etc.)
agriculture and folk horror
national identity and folk horror (local vs global, rural vs urban)
gender, race, and / or class in folk horror
transgressing and limiting borders
the devil
the figure of the witch
paganism in folk horror
blogging and folklore
New ‘myths’ such as Slenderman
Digital games as folk horror
the built and natural environments of folk horror
folk horror in the “lost decades” of the 1980s and 1990s
re-inventing folk horror in the late 20th and early 21st century
the Gothic/EcoGothic and folk horror
folk horror in the digital age
female-authored/directed folk horror
global folk horror
transnational folk horror
oral histories/tales

Please send abstracts of 300 words and a short bio to conference organizers Ruth Heholt of Falmouth University ( and Dawn Keetley of Lehigh University ( by April 1, 2019. We are both also very happy to answer any questions at any point. We plan to put together an edited collection that includes select conference papers.

Please follow us on Twitter at @folk_horror2019 #folkhorror2019 or on Facebook, Folk Horror Conference 2019 at
Technology, Women, and Gothic-Horror On-Screen

2 – 3 May 2019
University of Kent
Keynote speaker: Dr Lisa Purse (University of Reading)


Gothic and technology appear, on the surface, to evoke contradictory connotations. As David Punter and Glennis Byron highlight, the Gothic came to be a term associated with the “ornate and convoluted”, “excess and exaggeration, the product of the wild and the uncivilized, a world that constantly tended to overflow cultural boundaries” (Punter and Byron, 2004, 7). Technology, on the other hand, is a term often linked to science, innovation and progressive invention. If the Industrial Revolution is emblematic of what one imagines a technological revolution to be, then technology becomes synonymous with the associations defining 18th Century culture, described by Terry Castle as “the period as an age of reason and enlightenment – the aggressively rationalist imperatives of the epoch” (Castle, 1995, 8).

Yet technology and the Gothic have been linked and have interacted since the latter’s beginnings in fiction. From the earliest reception of the original novels that give our Gothic films their name, fans and critics alike referred to the “machinery” of the narratives, implying that that the mechanisms that made them go were audible. Clara Reeve, who wrote The Old English Baron – itself is a tad creaky – commented on The Castle of Otranto that “the machinery is so violent, that it destroys the effect it is intended to excite” (Reeve, 2008, 3). And Horace Walpole, himself, made reference to the story’s “engine” (Walpole, 2014, 6).  The Gothic can thus be conceptualised as metaphorically mechanical, a link explored within a different context by Jack Halberstam who writes that “Gothic fiction is a technology of subjectivity … designed to produce fear and desire within the reader” (Halberstam, 1995, 2).

Technology and the Gothic have also intersected in more literal terms, as with the horror created by the intersection of the two in Mary Shelley’s Frankenstein (1818). On the one hand, the novel stands as a canonical Gothic text, and Ellen Moers argues that the story can be defined as the Female Gothic, a term commonly associated with the women-in-peril narratives which later saw the influence of Gothic literature translated onto the cinema screen in Hollywood during the 1940s. On the other hand, the tale of an unnatural and scientific birth is credited with establishing the generic tropes of science fiction, a mode of storytelling which is indebted to technology and acknowledges “contemporary scientific knowledge and the scientific method”, as Barry Keith Grant suggests. He also continues: “Science fiction, quite unlike fantasy and horror, works to entertain alternative possibilities” (Grant, 2004, 17). However, Fred Botting notes that the combining of science fiction and Gothic – two “generic monsters” – reveals a “a long and interwoven association” whereby both genres “give form to a sense of otherness, a strangeness that is difficult to locate” (Botting, 2008, 131).

Our conference aims to explore this relationship between technology and the Gothic by focussing upon its intersection as depicted on screen within visual media, with a specific focus on how such concerns impact on gender representations and, in particular, women. This connection may be explored figuratively: the “machinery” identified in Gothic fiction can also be extended to the filmic Gothics which centre upon the Gothic heroine. The Hollywood 1940s Gothics possess noticeably excessive convolutions of plot, as with Sleep, My Love (1948), and one could argue this trend has continued in contemporary returns to the Old Dark House and horror with films like Crimson Peak (2015). Technology may also be physically present within these Gothic-horror films. If the “machinery is so violent” in Crimson Peak’s narrative, then this is additionally foregrounded within the diegesis: Thomas Sharpe’s engine for extracting the red clay from the ground stands as both a metaphor for the genre’s mechanical plot – drawing on familiar tropes which unearth deadly secrets – as well as functioning as a visual spectacle around which the climax of the film shall take place.

Actual mechanical or technological inventions which impact upon the story may be wide-ranging: the railway, cars, telephones, recording devices, electric light and gaslight are just some examples of technologies integrated into the narratives of Gothic films, often with the intention of contributing to the imperilment and oppression of the central heroine. Technology can also do this by evoking the uncanny, itself a phenomenon which forms “the background and indeed the modus operandi of much Gothic fiction” (Punter and Byron, 2004, 286). Tom Gunning demonstrates this when he recounts several versions in early cinema of a woman-in-jeopardy story, Heard Over the Phone, which could almost be Gothic in that the woman is in her own home and menaced there by a male assailant. Drawing on Freud’s musings upon the ambivalent nature of technology, Gunning highlights the ambiguous – and uncanny – position of the telephone: it is a device which brings the absent near through sound, but actually this serves only to underline the actual distances involved. Gothic-type narratives, gender, and technology merge in these early films to reveal “the darker aspects of the dream world of instant communication and the annihilation of space and time” (Gunning, 1991, 188).

More recent Gothic and Gothic-horror films may update these technologies to include computers, the Internet and mobile phones. Technology also includes film and the moving image itself: this conference will explore how filmic technologies mediate and emphasise the connection between technology, the Gothic, and gender, including through the use of visual effects. Film is a particularly apt medium through which to contemplate these ideas as cinema’s ontology embodies both technology’s scientific roots and the Gothic’s appeal to excess and the supernatural. As Murray Leeder notes: “With its ability to record and replay reality and its presentation of images that resemble the world but as intangible half-presences, cinema has been described as a haunted or ghostly medium from early on” (Leeder, 2015, 3).

These ideas may also be explored by expanding upon the original notion of Moer’s Female Gothic: if the literary Female Gothic is defined by female writers working in this mode, then this conference would also like to explore how female filmmakers have made use of Gothic-horror conventions. It is significant to note that the most iconic examples of Gothic films focusing on stories about the victimisation of women, particularly in the 1940s, were directed by men. By thinking about the technology behind the screen, this event will also consider what influence women filmmakers have had upon this tradition, including within present day, and what further reflections may be offered between this relationship of the Gothic to gender and technology.

With this third annual Gothic Feminism conference, we invite scholars to respond to the theme of technology in the woman-in-jeopardy strand of the Gothic and Gothic-horror film or television.

Topics can include but are not limited to:

– the tension between Gothic and technology as the supernatural, fantastic and paranoia versus the rational, reason and logic. How do these elements intersect with the representation of gender in film and television?

– the traditions of the Gothic heroine on-screen and her interaction with technology. Does technology help the female character or is it another agent of terror used against her?

– the technology behind the screen. How have female filmmakers used the genres of Gothic-horror to express themselves?

– the technology of the screen. How has the technology of cinema, including visual effects, been used, and how do these aspects interact with the representation of the central female protagonist/s?

Please submit proposals of 500 words, along with a short biographical note (250 words) to by Friday 15th February 2019.

We welcome 20-minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays. 

Conference organisers: Frances A. Kamm and Tamar Jeffers McDonald

This conference is the third annual event from the Gothic Feminism project, working with the Melodrama Research Group in the Centre of Film and Media Research at the University of Kent. Gothic Feminism explores the representation of the Gothic heroine on-screen in her various incarnations.

Call for Essays: Westworld: Manufactured Humanities, Dreams, and Nightmares

Note: Though Westworld is not a horror series, the call is from an HWA member, so it is being shared here. Please consider submitting.

One of HBO’s most successful series, Westworld is visually stunning and beautifully performed. Behind the gorgeous set and amazing effects, is a show that asks viewers to think about much of what we take for granted. Amongst its many themes, Westworld contemplates how stories shape so much of our existence.  What do stories mean to us as individual memories, shared experiences, as structures for morality and religion, and when mythologized, how do they form backdrops to civilizations? Is humanity even possible without stories and storytelling?

In this call for papers, I am looking for essays between 5000-7000 words (minimum and maximum word counts set for uniformity) that will explore this theme. Selected essays will serve as individual chapters in the completed book.

While the focus is on the HBO series, the films (Westworld and Futureworld) may be referenced and discussed as long as there is a strong connection to the series.

Essay topics and approaches can include, but are not limited to:

• Fan Studies and Fandom—fan theories, observations, and how the relationship between fans and creators influenced the show
• Story Theory—storytelling techniques within the show, fractured storylines, the blending individual host stories as they remember their many past “lives”, Simon’s role as “Narrative Director”, etc.
• Gender and Sexuality within the context of the show
• Marxist readings
• Sentience and humanity
• Morality and/or philosophy of the hosts, Delos employees, or corporate executives and how their competing interests developed throughout
• Comparison/contrast to Shelley’s Frankenstein
• Representations of race and identity of both the Delos employees, hosts, and guests
• Representations of religion and theology
• Explorations of the show’s references to Philip K. Dick, Matrix, video games, and others
• Technology
• The world within the world of the parks system
• Afterlife and immortality
• Individuality, conformity, and freedom
• Genre Studies—Is Westworld a Western? How does it fit into the genre? How does it challenge and deconstruct the genre to explore what Westerns say about America?
• Anachronisms and verisimilitude—how do the parks create and maintain the illusion of “another world” while reminding viewers (and park guests) that it is, in fact not real?

Please submit your 250-500 word abstract and a brief bio to: with Westworld Abstract in the subject line.

Please note the following deadlines and publication schedule:

Abstract deadline: March 1, 2019
Notification of acceptance (Style guides issued): March 15, 2019
Essay Deadline: June 15, 2019
Revisions due: September 15, 2019
Final Manuscript to McFarland Press: February 15, 2020
PEER REVIEW: Some Essays may need additional revisions after peer review (deadline TBD)

Unfortunately, I am unable to offer any extensions. Kindly adhere to this schedule.
A Feast of Blood: the Vampire in the Nineteenth Century

Deadline: January 31, 2019

We invite essay proposals on the vampire figure in the long nineteenth century.  Our edited collection will look at the vampire figure’s rise in popularity throughout the period and across a range of literary texts.

When we think of the Victorian vampire, Dracula is usually the first name that comes to mind. But there were many stories of vampires before and contemporary to Stoker’s novel. We welcome papers that address these many ‘other’ vampires, from Byron’s and Polidori’s early stories of this monstrous figure, to the penny dreadful Varney the Vampire, Carmilla’s parasitic lesbian lover, the Spanish vampire in Olalla, and the transatlantic threat in Blood of the Vampire.  We are especially interested in working with authors from different disciplines, including literary studies, history, gender studies, cultural studies, sociology, economics, history of science, etc.

Possible topics include:

  • The early vampire narratives of Polidori and/or Byron
  • Vampire folklore in the nineteenth century
  • The vampire and the penny dreadful
  • The ‘Other’ 1897 vampire novel: Blood of the Vampire
  • Dracula’s literary influences
  • Stoker’s short story, “Dracula’s Guest”
  • Lesbian vampires in the Victorian Period
  • Vampires and the rise of class in the nineteenth century
  • Vampires and werewolves in Emily Gerard’s writing
  • The nineteenth-century American vampire (eg Freeman’s “Luella Miller”)
  • The vampire in Marx’s economic writings
  • Vampire fiction after Darwin
  • The vampire and Victorian technologies of mass reproduction
  • Vampires in nineteenth-century short fiction
  • Vampires and Victorian food
  • Vampire fiction at the fin-de-siècle

Proposals of 400-500 words should be submitted along with a 60-word author biography and one-page cv to Brooke Cameron ( by 31 January 2019. We will notify applicants of results by 31 March 2019. Following acceptance, final papers should be approximately 8,000 words long and will be due by 01 Sept 2019. Routledge has expressed interest in this collection.
Archived - Calls for Papers / Theology and Horror Deadline:2019-01-15
« Last post by nicholasdiak on November 07, 2018, 10:28:59 PM »
Call for Abstracts – Theology and Horror


Explorations of the relationship between religion and horror are fairly well established. However, this is not the case for theology and horror. Many times explorations of theology and horror involve simplistic readings in which theological concepts or doctrines are spotted within horror narratives and noted as points of connection. While this approach has its place, great possibilities exist for going deeper and wider in the exploration of horror and theology. Horror can be a subversive and edgy genre, and this doesn’t often connect well with conservative assumptions which underlie much of the theological enterprise. Theology is often neat and sanitized; horror is messy and dirty.

This volume seeks to do something different, and to break new ground. Along with exploring how theology is present in horror, this volume will seek to explore how theology can be changed and shaped by an interaction with horror. This can be illustrated with examples of possible topics:

  • God as monstrous figure
  • Zombie Jesus phenomenon
  • Horrific readings of the Bible
  • Horror as/in theological pedagogy
  • Atheological conceptions of horror
  • The afterlife in theology and horror
  • Frankenstein and God as absent parent
  • Apocalyptic thinking in theology and horror
  • Rudolf Otto’s The Idea of the Holyand Horror
  • Horror and nihilism vs. horror and theological hope
  • How theology can benefit from interaction with horror
  • The portrayal of religious institutions in horror narratives

This volume is a part of the Theology and Pop Culture series published by Lexington Books/Fortress Academic. It will be co-edited by John Morehead and Brandon R. Grafius. Morehead is the proprietor of, and is a contributor, editor and co-editor to a number of books including The Undead and Theology, Joss Whedon and Religion, The Supernatural Cinema of Guillermo del Toro, and Fantastic Fan Cultures and the Sacred (forthcoming). Grafius is assistant professor of biblical studies at Ecumenical Theological Seminary, whose monograph Reading Phinehas, Watching Slashers: Numbers 25 and Horror Theory was published by Lexington Books/Fortress Academic in 2018.

Abstracts of 300-500 words with CVs should be sent to and by January 15, 2019. The submission deadline for drafts of manuscripts of 6,000-8,000 words is scheduled for September 1, 2019.
Call for Essays: Not a Fit Place: Essays on The Haunting of Hill House

I am looking for proposals for chapters for an academic book on the Netflix series The Haunting of Hill House to be published by McFarland & Company. 

While the existence of shows such as American Horror Story, Preacher, The Walking Dead, Supernatural, Stranger Things, The Terror, Castle Rock, The Strain and Penny Dreadful gives the impression we are living in a golden age of horror television, The Haunting of Hill House on Netflix seems to be a game-changer that takes small-screen dread to a new height.  Less than a month in release, the series has garnered a great deal of praise and media discussion.  Stephen King called it “nearly perfect” and “close to a work of genius,” Nerdist posted an article entitled “Why You Should Watch The Haunting of Hill House,” the show has 100% on Rotten Tomatoes, was praised in GQ as “the first great horror TV show,” and in Forbes as “perfect for Halloween.”  Critical reaction has been mostly glowing, albeit with some very obvious critiques of the series (see, for example, Holly Green’s “How Netflix’s The Haunting of Hill House Betrays Shirley Jackson,” which found the series “egregious and disrespectful.”)  The show thus is controversial (especially its ending and its approach to its source material) and yet is also highly regarded as effective horror television.

Not a Fit Place: Essays on The Haunting of Hill House proposes to explore and analyze the series from a variety of critical perspectives.  The individual essays will be 4000-6000 words each. Successful proposals will explore an aspect of The Haunting in a unique manner and offers something to say that illuminates the series beyond opinion-as-analysis. Given the nature of the project and the desire to have the volume out before Halloween 2019, we have an accelerated project timeline.

The Deadlines:

I will accept abstracts on a rolling basis up until December 15, 2018.  Those whose abstracts are accepted will be sent the style guide and information regarding the preparation of manuscripts.

Contributors must submit the first draft of their essays to me by April 15, 2019.  I plan to have the final, full manuscript to McFarland by June 15, 2019, so we will have two months for edits and further development of essays.

Please note, no extensions can be given once accepted, so please only submit abstracts if you are certain you can adhere to this timetable.  The deadline for manuscript submission is set, so the expectation is that final essays will be in by the above dates.

I am looking for essays on any other topic relating to the volume’s theme. Possible topics include but are not limited to:

  • The relationship between novel and series.
  • Jackson’s themes and motifs as adapted (or betrayed) by the series
  • A comparison and contrasting of the Netflix series with previous film versions (1963,1999).
  • Contextualizing The Haunting of Hill House in director Mike Flanagan’s body of work.
  • Other haunted house narratives on screen and HoHH (Legend of Hell House, Rose Red, The Changeling, The Conjuring, etc.).
  • “Hauntings” as metaphor for trauma, addiction, infidelity and mental illness in the series.
  • The shaping influence of Stephen King on the Netflix series.
  • “Hidden Ghosts” – the presence of figures in the background and what they do for the series.
  • Methodological critiques of the show: feminist, economic, ecocritical, queer, etc.
  • Time and structure in HoHH.
  • Marriage in HoHH
  • The Haunting of Hill House and This Is Us as diachronic narrative of family.
  • HoHH and Westworld (or other show) as non-linear narrative.
  • Revelations and Endings: HoHH as apocalyptic narrative.

Please submit 250-500 word abstracts with a brief bio to: by December 15, 2018.             
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